Marina Harss with her personal selection of New York dance memories this last year…
★★★★✰ Few alternative takes on tradition survive this long and The Hard Nut remains as subversive as it is satisfying.
Alvin Ailey American Dance Theater – Four Corners, Untitled America, r-Evolution, Dream, Revelations – New York
★★★★✰ There is no limit to how often one can see Ailey’s 1960 masterpiece Revelations. The elation is always the same.
★★★✰✰ The post-modernist Lucinda Childs is experiencing a bit of a comeback here in the US, after years of working abroad.
★★★★★ Do yourself a favor – go.
★★★★✰ This year’s White Light Festival, at Lincoln Center, has spawned a mini-festival of its own, Sounds of India, curated by the modern-dance choreographer Mark Morris. Why Morris? Because he has been going to India since the eighties…
★★★★★ Jérôme Bel has been called many things, from conceptual artist to choreographer. If art is supposed to put a mirror up to humanity and at the same time challenge convention, Bel is certainly an artist, and one who has also referred to himself as a “philosopher of dance.”
★★★★✰ Jessica Lang’s Her Notes is a lovely and poetic work, though one with a slightly subdued effect. It is almost too tasteful.
American Ballet Theatre – Serenade after Plato’s Symposium, Symphonic Variations, Brahms-Haydn Variations + Fall Gala – New York
★★★★✰ A second look at Alexei Ratmansky’s Serenade after Plato’s Symposium confirms the impression formed last season. It is a fascinating work that represents a new direction for the choreographer.
★★★✰✰ Minuit is more of a meditation on the elegance of physical reality and how it can be manipulated in the name of artifice.
★★✰✰✰ The effect of Shen’s “Neither,” like that of the original opera, is decidedly muted.
★★★★✰ Structure and meaning lie at the heart of O’Connor’s work. With Undersweet he has achieved a perfect balance.
★★★✰✰ Some artists focus on movement, others prioritize emotion. Nichole Canuso is adept at syncing the two, mapping them out with meticulous attention to detail in her latest, multimedia dance theatre work, Pandaemonium
Fall For Dance Festival – Program 2: Richard Alston, Aszure Barton, Wendy Whelan, Edward Watson, Grupo Corpo – New York
★★★✰✰ One of this recurring festival’s strongest selling selling points is the serendipity of its pairings. You pay $15 and get a grab-bag of dance in return. You’re bound to like something.
★★★★✰ Divertimento’s aura still shines; you want to see it again, to figure out its fluid, almost magical transitions. It’s a shame it will only be performed four times this season; it takes more than that for the audience, and the dancers, to really get to know it.
★★★✰✰ The pattern is set: the company commissions works from three or four choreographers, often quite young, and pairs them with prominent designers. The works are short, and are introduced by filmlets…
★★✰✰✰ There are times when you wonder if bones have been broken, or organs perforated. On the whole however, the hour and a half work is largely characterised by the violent, repetitive and neurotic gestures.
★★★★★ It’s difficult to think of a better way to bid farewell to a New York summer than with Lincoln Center’s “Mostly Mozart” festival, and seeing Mark Morris Dance Group performing Mozart Dances was the icing on the cake.
★★✰✰✰ So bravo for Danilian. All the dancing at the gala was very fine – who could expect any less from these dancers? One can (and should) question his taste but it’s clear that he’s willing to go out on a limb…